So true is it that primitive accumulation is not produced just once at the dawn of capitalism, but is continually reproducing itself.

[...] And just as we found, on the side of human surplus value insofar as it resulted from decoded flows, an incommensurability or a fundamental asymmetry (no assignable exterior limit) between manual labor and capital, or between two forms of money, here too, on the side of the machinic surplus value resulting from scientific and technical flows of code, we find no commensurability or exterior limit between scientific or technical labor—even when highly remunerated—and the profit of capital that inscribes itself with another sort of writing. In this respect the knowledge flow and the labor flow find themselves in the same situation, determined by capitalist decoding or deterritorialization. But if it is true that innovations are adopted only insofar as they entail a rise in profits through a lowering of costs of production, and if there exists a sufficiently high volume of production to justify them, the corollary that derives from this proposition is that investment in innovations is never sufficient to realize or absorb the surplus value of flux that is produced on the one side as on the other. Marx has clearly demonstrated the importance of the problem: the ever widening circle of capitalism is completed, while reproducing its immanent limits on an ever larger scale, only if the surplus value is not merely produced or extorted, but absorbed or realized. [...]

Here Andre Gorz's double portrait of the "scientific and technical worker" takes on its full meaning. Although he has mastered a flow of knowledge, information, and training, he is so absorbed in capital that the reflux of organized, axiomatized stupidity coincides with him, so that, when he goes home in the evening, he rediscovers his little desiring-machines by tinkering with a television set—O despair.80 Of course the scientist as such has no revolutionary potential; he is the first integrated agent of integration, a refuge for bad conscience, and the forced destroyer of his own creativity. [...]